Netflix
Oscar-winning producer Eva Orner crafts a portrait of manipulation that’s both engrossing and gross, a narrative more pertinent than ever in the era of the #MeToo and Time’s Up movements.
Thanks to its talented and charismatic leads, The Kaminsky Method overcomes any lack of forward narrative momentum.
Though plot-wise Atypical is somewhat formulaic and uses many tropes from the drama/comedy genre, its utilization and handling of these make it a step up from many shows of the same variety.
Not as impactful or satisfying as its daring predecessor, The End of the F***ing World is not the end of the world, but it’s not a crucial send-off either.
Earthquake Bird is likely to be but a blip in the filmography of both its stars and director.
Klaus captures the old fashioned wonder of Christmas within the old fashioned splendor of traditional animation.
A transformative adaptation, American Son may not be a groundbreaking piece of filmmaking, but that’s not what it was meant to be either.
Ed Perkins’ documentary Tell Me Who I Am is an experience that’s both remarkable and powerful.
Schitt’s Creek is one of the best and brightest comedy shows of this decade – stop acting like a disgruntled pelican and watch it!
Daybreak is a show begging not to be analysed, instead designed to be consumed mindlessly in one sitting over the Halloween season.
Big Mouth Season 3 continues in the show’s tradition of blunt honesty with a dash of humor, while not being without flaws.
While it does contain so interesting moments to keep you attention, The King is not worthy starting in the first place.
Even in their shortcomings, Rattlesnake, Skyman and The VICE Guide’s to Bigfoot were all just off center enough to be entertaining.
Steven Soderbergh is back with The Laundromat, a splashy, star-studded look at the world of obscene wealth and financial wrong-doing.
Mirroring the problematic characters it depicts, Big Mouth is a bit of a disjointed mess, hilarious at times and problematic at others.